A real jewel in the crown of his ouvre, this album highlights Vangelis‘ ability to create a unique sound-world for a single musical project. This time it involves that period of the year, sort of fresh early spring, when new life crops up everywhere all of a sudden: the start of a new cycle of life and death, hence the album-title ‘Soil Festivities’. Vangelis manages to get across this feeling of the miracle of nature” really well and in a very direct sense – there’s nothing wishy-washy or New Age about it. Accordingly
Wilfred Smit / The Netherlands –
This is such an album, where you must sit down, dim the lights and listen, enjoy the music.
2005. Wilfred Smit / The Netherlands
Joe McGlinchey –
To get a hint at the extent of Vangelis‘ range as a composer, compare this release with Mask, an album released just one year later. About all you could say that these have in common is that they both use the same polyphonic keyboard sounds and are both broken into untitled movements. While in Mask, the Greek composer would use bombastic symphonic-choral colors to evoke with full drama the pageantry of heaven and hell, this one instead chooses as its focus the natural ambience of earth, in a tone that is minimal, but not necessarily Minimalist.
Opening with a thunder clap and gentle atmosphere sounds, the foundation of Movement 1″ is a dot-drone
Ivar de Vries –
A real jewel in the crown of his ouvre, this album highlights Vangelis‘ ability to create a unique sound-world for a single musical project. This time it involves that period of the year, sort of fresh early spring, when new life crops up everywhere all of a sudden: the start of a new cycle of life and death, hence the album-title ‘Soil Festivities’. Vangelis manages to get across this feeling of the miracle of nature” really well and in a very direct sense – there’s nothing wishy-washy or New Age about it. Accordingly
Wilfred Smit / The Netherlands –
This is such an album, where you must sit down, dim the lights and listen, enjoy the music.
2005. Wilfred Smit / The Netherlands
Joe McGlinchey –
To get a hint at the extent of Vangelis‘ range as a composer, compare this release with Mask, an album released just one year later. About all you could say that these have in common is that they both use the same polyphonic keyboard sounds and are both broken into untitled movements. While in Mask, the Greek composer would use bombastic symphonic-choral colors to evoke with full drama the pageantry of heaven and hell, this one instead chooses as its focus the natural ambience of earth, in a tone that is minimal, but not necessarily Minimalist.
Opening with a thunder clap and gentle atmosphere sounds, the foundation of Movement 1″ is a dot-drone